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At head of title: Ministero per i beni culturali e ambientali, Biblioteca riccardiana. XII Settimana per i beni culturali. / Datum laatste controle: 09-01-08. Includes bibliographical references (p. 95-103) and indexes.

xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits. / Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member

Univ., Habil.-Schr.-2006--München, 2005.

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The Medici: Citizens and Masters Robert Black and & John E Law (eds), The Medici: Citizens and Masters, Harvard University Press: Cambridge, MA, 2015; 444 pp.: 9780674088443, US$40.00 (PBK)

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In 1622, the Dowager Queen of France, Marie de' Medici, had recently returned to Paris after a period of exile imposed by her son, Louis XIII, and commissioned a monumental cycle of images from Peter Paul Rubens to decorate the gallery of her freshly constructed Luxembourg Palace. The contract for the commission tasked Rubens with painting the “illustrious life and heroic deeds” of Marie de' Medici. This thesis argues that alongside the classical and the historical, Rubens employed a specifically Catholic visual language to create a painted panegyric of a heroic female sovereign. In doing so, Rubens linked Marie de' Medici with the Virgin Mary through compositional resonances and a personal iconography developed for the queen throughout her life in popular images and literary tributes. In the Medici Cycle, the maternal, virginal, and heroic virtues embodied by the Virgin served as justification for Marie de' Medici’s sovereignty and her reconciliation with Louis.